I did another contrast/compare session with the SE100 and copper SP1000, this time using:
- JH Audio Layla CIEMs with the Silver Dragon v3 balanced cable
- 64 Audio U18t's with the Effect Audio Eros II 8 strand balanced cable
- Campfire Cascades with the balanced ALO Litz cable
In short, the SP1000 won out. I was hoping that wouldn't be the case. I just bought the SE100 and I admire it greatly. Unfortunately, sometimes the most expensive TOTL unit actually is the best one (for me anyway; YMMV).
First the good: the SE100 grabs your attention with clarity and punchy dynamics. On well-produced recordings it reveals a wonderful sense of space around each instrument and voice that few other daps can achieve. Compared to the SP1000, it's soundstage seems just as wide but a hair deeper, providing ample breathing room to discern excellent layering, separation, and imaging. The bass is potent with good texture and speed but not unnaturally so.
Certain tracks really popped out. Old standards such as BMarley & the Wailers' Easy Skanking, MJ's Wanna Be Starting Something, Don't Stop Till You Get Enough, Fleetwood Mac's Dreams, and the newly remastered Sgt Pepper outtakes, are all many decades old but sounded utterly fresh on the SE100. Each percussive element occupied a distinct spot in 3D space. Every breath was palpable.
Unfortunately, along with that resolution and sense of space comes overly-crispy highs, slightly grainy upper mids, and a touch of sibilance. Yes, I tested with highly revealing IEMs and cables, but I also used the Campfire Cascade which is bassy and warmish. On 'Songbird' and 'You Make Loving Fun' by Fleetwood Mac, and 'Hotel California' (sigh) by The Eagles, which I often use for testing because I know them so well, I picked up previously unrecognized nuances and dimension. Then Christine McVie hit the high notes. There was a touch of screechiness. Slightly 'digital-ish' sounding. Moving to the SP1000, the nuances remained but the harshness disappeared. I went back and forth, back and forth, back and forth. Ever see the movie Sideways? Where the main character shows his friend how to approach wine-tasting, closing his eyes, fingers in ears, nose sniffing deeply into the glass? I was the audiophile version of the oenophile.
This is where the SP1000 shines. It can do just about everything the SE100 can do but without any sibilance or grain. It unleashes heaps of detail without harshness and without sounding overly digital. It has the SE100's resolving airy sound but is also smooth. That is no easy feat! It doesn't have the Sony WM1Z's warm liquid tone, but then again its not trying to. The SP1000 is clearly aiming for a more reference sound. Its clear & spacious, with extended highs and excellent bass slam just like the SE100. But with every track I tried it was never grainy, brittle, or processed-sounding. I must say, I was hooked.
I should note that the SE100 had about 15-20 hours of burn-in time whereas the SP1000 had at least 200 hours. I still think it was a fair test. The SE100 will relax a bit more when it hits 200 hours -- but just a bit.
I still admire the SE100. Its minor deficiencies, which are absolutely minor, wouldn't be as noticeable if I hadn't done this recent pepsi challenge with the SP1000. But they are still there.
To sum up, I'm returning the SE100 this week and getting the SP1000 cu.